Alan, il conte nero

Aside from Karloff being one of my favorite actors with his numerous character portrayals. Charles Laughton can compliment any script he was an outstanding talent. His character in The Strange Door highlights his ability for sophisticated characterization of a truly ruthless and vindictive man, it is outstanding and I am astonished by this films low marks. It gets an 8 from me and I even toyed with rating it higher. And of course there is Karloff I can't say enough about his talents. The Gothic atmosphere all the secret passageways make for a great castle adventure. I purchased this film in a Boris Karloff collection which includes The Tower of London and 4 or 5 other great Karloff films but once again Laughton is by far the great talent in this Gothic horror flick from the early 50s.

A minor but irresistible Gothic melodrama with a rampant star performance by Charles Laughton (though he gets little to do in the second half - in fact, the film sags a bit during its latter stages). Boris Karloff's role is a good one, though clearly supporting Laughton rather than co-starring; actually, too much time is devoted to the rather insipid romantic leads (Richard Stapley and Sally Forrest) - though the supporting cast (including character actors such as Paul Cavanaugh, Michael Pate and Alan Napier) is adequate enough.

The plot itself is quite intriguing - leading up to a satisfying climax that's strikingly similar to the one in another Karloff film, THE RAVEN (1935). Of course, THE STRANGE DOOR reunites Karloff with Laughton almost 20 years after THE OLD DARK HOUSE (1932) - as in that film, they engage in a fisticuff at the end - and also returns the actor to Robert Louis Stevenson territory (albeit in a non-villainous role) after his unforgettable turn in THE BODY SNATCHER (1945). Despite the obvious low-budget (a fact that is betrayed, more than anything else, by having its entire score comprised of themes from previous studio efforts - including the nth revamp of the instantly recognizable cue from THE WOLF MAN [1941]!), the film is crisply shot in black-and-white and, in spite of the rather pedestrian direction, it makes the most of its limited sets.

A very neat Hammeresque thriller with some good plot twist and moody atmosphere.

A young rascal is escaping the mob after accidentally killing a man and finds himself at the door of a sinister castle. The door opens and closes after him. But very soon it seems that he has been expected at the castle and for no other reason than to marry the lady of the house. So was his getting there a coincident in the first place?

It's always nice to see two over-the-top actors fighting like professional beauties for the best of the picture. In this case, Laughton gallops away with his colours flying (in black and white). He really acts for every dollar. Perhaps Karloff would have been a better choice for this part, but Laughton's tour de force is such an enjoyment that I personally wouldn't have it any other way. Karloff's part isn't so interesting a material to start with, so he is pretty much wasted as far as his fans are concerned.

Unfortunately the romantic leads don't fare well. The heroes' part cries out for Erroll Flynn or Stuart Granger or anyone as confident, suave, butch and agile. Unfortunately Richard Stapley-Wyler has none of these qualities. Albeit undeniably handsome, his performance is timid and effeminate. It's difficult to believe that in real life Wyler used to be a road racer. He walks like a ballerina in the mud and speaks in a flat, nasal voice which he obviously tries to make sound as low as possible. His total reluctance to act is sympathetically shared by another pretty but lifeless figurine, Sally Forrest. Personally I just think she keeps herself down as the leading man doesn't light her fire. If only these two would have blended into the acting ensemble, this film would be so much more fun.

Nevertheless, nicely shot with good settings and soundtrack, it's a treat to everyone who enjoys Corman's Poe adaptations or Hammer's dark old house films. Not quite cigar, but gives a good puff of smoke.

Noble-born cad Dennis (Stapley) has been tricked into a forced stay at the eerie manor of the Sire de Maletroit (Charles Laughton), an evil madman who cannot get over the death of his beloved, twenty years after she married his brother (Paul Cavanagh) instead and subsequently passed away during childbirth.

This film starts as a period piece and slowly turns into a horror story. Quite slowly, in fact, to the point where you may even doubt if the horror aspects are going to arise. But this plays out well, building the characters and situation for the events that are to come.

While this is sometimes considered a Boris Karloff film, Karloff actually has a rather small role to play. It ought to be called a Charles Laughton film, because Laughton shines. He has such charisma, stealing every scene (in a good way) and leaving you wanting more. He ought to be a bigger deal than he is.

When Charles Laughton is given good direction and a decent script he'll give you an Oscar caliber performance and has on many occasions, one of them officially. But when he's not, hmmmm............. Well what's a body to do, but make the best of it, have a little fun.

With that gleam in his eye and the shtick with the food, plagiarized from his own performance of Henry VIII, Laughton goes to town in an orgy of overacting as Andre de Maletroit, malevolent lord of the manor in 18th Century France. For reasons I'll not explain Laughton has some nefarious reasons for wanting his niece to marry the worst kind of aristocratic rake.

The niece and the rake are played respectively by Sally Forrest and Richard Stapley none too convincingly I might add. Boris Karloff is an old family servant who Laughton delights in mistreating. He also is defeated by the script and direction so he also resorts to shtick.

Boris Karloff's career is illustrative of the path that Charles Laughton's could have taken. Trapped by his performance as the Frankenstein monster, Karloff stayed in the horror genre for most of his career. It was Laughton's good fortune and acting instincts that kept him from the same fate.

The film is based on a Robert Louis Stevenson story and certainly Stevenson has had great cinema made from his stories like Treasure Island and Kidnapped. Too bad this one can't rate up there.

The Strange Door is the kind of material that in the late 50s, Hammer films would have done so well. Too bad they didn't get a crack at it here.